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Not just in the what they say (as in “those-kids-say-the-darndest-things” sentiment), but in how they perceive themselves and their world. Children have an honesty that – for some reason – continually thrills and bewilders adults.

Although he never married and was never a father, Isaac Watts understood the power of theological education for children. His own theological imagination was stirred early on. His father, a deacon in a dissenting church, encouraged his son to process his world through the lens of biblical theology.

W – Wash me in Thy blood, O Christ
A – And grace divine impart
T – Then search and try the corners of my heart
T – That I in all things may be fit to do
S – Service to Thee, and Thy praise too

Partly owing to the diligence of his own father, and partly as a result of his experiences in the church, Watts created an entire hymnal specifically for children in 1715: Divine Songs for Children.

Most notably, this was the first faith-based song book made exclusivelyforchildren.

Watts included some heavy theology in his collection – drawing on the book of Psalms for most of his texts. In the preface (addressed to children’s workers), Watts writes:

“MY FRIENDS – It is an awful and important charge that is committed to you. The wisdom and welfare of the succeeding generation are intrusted with you before hand, and depend much on your conduct.

The seeds of misery or happiness in this world, and that to come, are oftentimes sown very early; and, therefore, whatever may conduce to give the minds of children a relish for virtue and religion ought in the first place, to be proposed to you.”

Heavy stuff. I love it.

FOR PASTORS: Sometimes I’m that Dad in the front row of the school play with the camcorder. But cute stuff in church doesn’t stick. Trotting the kids out to sing a special number with Aunt Bea is all well and good, but kids are capable of far more than we give them space (and time) for. Here are a few thoughts:

1. A love for children is a good first step. But please, please, please hirepeople who are capableofteaching. Being a part of a church that supports what I’m teaching my kids is one of the biggest blessings parents can have.

2. Create space for kids to lead. I’m serious. In appropriate ways, give kids a platform. How cool would it have been if young Watts’ pastor would have encouraged the rest of his congregation to make an acrostic for their names?

For sixteen years (1764-1780), Newton served as the curate of Olney parish. Olney (pronounced “all-knee.” ) was a rural area of only 2000 people. The congregation was poor and largely uneducated, most making their living as laborers in the lace industry.

William Cowper – a young man plagued with frequent bouts of depression – moved to Olney in 1767. Once a candidate for a finance career in London (a position arranged through the influence of a domineering and loveless father) Cowper’s life was marked with loneliness and pain. Despite his reclusive and emotionally devastating story, Cowper’s years in Olney were the happiest and most stable of his otherwise tragic life.

Newton (who, like Cowper lost his mother when he was 6 years old) seemed to love Cowper out of a bottomless empathy and compassion. They would walk together, write frequently, and share their thoughts about their church. Throughout their friendship, Newton was a trusted confidant, loving friend, and an incredible pastor.

Cowper wrote of Newton: “A sincerer or more affectionate friend, no man ever had.”

Picking up on Cowper’s poetic gift, Newton asked his young friend to consider the idea of collaborating on a hymnal together. The hymns were to be used especially in their small church.

The result: Olney Hymns. 348 hymns (incidentally, with no musical arrangement) including Amazing Grace, and There is a Fountain. Newton wrote over 200. Cowper wrote 68.

Here’s the point: for a church to truly create, it must be alive. Put another way: When God is moving in the life of a local church, that church will then be free to express itself in a tangible way.

For worship leaders: In the preface of the hymnal, Newton wrote: “they should be hymns – not odes, if designed for public worship, and for plain people.” That’s pretty good criteria. If you’re asking your church to engage in worship that doesn’t resonate with who they are, then you’re simply not serving them. Don’t ask them to fake it.

For pastors: Newton engaged Cowper with a great deal of intentionality. The Olney Hymns project was Newton’s way of developing Cowper’s melancholy and reflective personality.

Describing his reason for creating a hymnal (he was a busy pastor after all) Newton wrote in preface:

“…A desire of promoting the faith and comfort of sincere christians, though the principal, was not the only motive to this undertaking. It was likewise intended as a monument, to perpetuate the remembrance of an intimate and endeared friendship.”

Watts (1674-1748) is typically referred to as “the father of English hymnody.” Over his life, he wrote over 600 hymns, including Joy to the World, Alas and Did my Savior Bleed, I Sing the Mighty Power of God, and When I Survey the Wondrous Cross. Here’s the thing:

Watts was a revolutionary.

Theology, literacy, and learning were important to the Watts family – and young Isaac displayed an exceptional ability for learning: He had learned Latin (by age 5), Greek (by age 9), French (by age 11), and Hebrew (by age 13). As a boy, he had the annoying – although charming – habit of echoing his parents’ commands in rhyming couplets: “O father do some pity take, and I will no more verses make.”

Yep – Isaac was one of those kids.

In the 18th century, the state church in England was growing stale. Church – and therefore corporate worship – was profoundly boring. Most churches sang slow, ponderous, march-like tunes that sounded more like freshmanbiology notes than a personal encounter with God. Consider this lyrical gem:

Isaac continually pressed his father (a respected deacon in a dissenting Congregationalist church) to initiate change, saying: “the singing of God’s praise is the part of worship most closely related to heaven, but its performance among us is among the worst on earth.” Half out of patronizing sarcasm and half out curiosity (knowing his son’s abilities), his father charged him: “Why don’t you give us something better, young man?”

Before the evening service began, Isaac had composed his first hymn. Sadly, the identity of this hymn is lost to history. But here’s the kicker: Watts wrote a hymn every Sunday for the next two years.

But Watts’ innovation and creativity came at a cost. Because he chose to write hymns that centered on personalfeelings and reflections, he was regarded as “too outside the box” for “normal” church – some even considered him a divisiveradical.

Fortunately for us, Watts cared more about the art he was creating for God’s glory than the nay-sayers who would eventually lose worship war of the 18th century.

THE POINT:

For worship leaders: Find the Watts’ in your church – there’s probably more than a few – and give them a platform. Writers, poets, musicians, and storytellers are all over the place. There are budding graphic designers everywhere. Find them. Develop them. Encourage them. Host an art fair. Hold a poetry reading (include your surrounding community). Give painters, sculptors, and visual artists a place in your Sunday morning worship. Just please, please, please – don’t do this half-baked. Do it well.

For the rest of us: It’s easy to complain. Especially about church music. It really is. But few of us will take the initiative to create. Creativity takes courage. Complaining just takes an audience. Take Watts’ father’s words as directed to you: If you’re discontent do something.

Born in 1735, Robert Robinson is best known for writing “Come Thou Fount.” His father died when he was eight years old. He grandfather disowned him for the sum of ten shillings and sixpence (about a week’s wages at that time). At age 14, he was sent to live with his uncle in London where he ended up as barber’s apprentice.

With no father to guide him, Robinson’s life took a turn for the worse. Like the prodigal son, Robinson had a few questionable friends, a little spending money, and plenty of opportunities.

At age 17, Robinson and his group of friends planned to attend a meeting hosted by the fiery yet pastoral preacher George Whitefield (think “Billy Graham meets Mark Driscoll”). The plan was simple: “scoff at the poor, deluded Methodists.” He was every preacher’s nightmare – aprofessional heckler.

But in the curious providence of God, Whitefield’s words haunted Robinson.

For 3 years.

In 1755 at the age of 20, Robinson gave his life to Christ. Two years later, he gave his church the following words:

…Prone to wander, Lord, I feel it,
Prone to leave the God I love
Take my heart, O take and seal it
Seal it for thy courts above.

Sadly, his words were personally prophetic.

An often-told (yet slightly apocryphal) story goes that toward the end his life, Robinson was riding in a stagecoach when he noticed a woman sitting opposite him, deeply engrossing in a hymn book. He listened as she hummed a tune to herself. At one point, she turned to him as asked his opinion about the hymn. Robinson burst into tears and said:

“I am the poor unhappy man who wrote that hymn many years ago, and I would give a thousand worlds, if I have them, to enjoy that feelings I had then.”

Robinson’s gift to us was his honesty.

For pastors: It’s important to remember that Robinson wrote the words for “Come Thou Fount” just prior to accepting a call as a pastor. Imagine yourself in his shoes: Standing before your congregation and boldly opening your skeleton closet. Admitting all your secret doubts and fears in front of the people who you hope to lead. Frightening, yes? But few things speak louder of a leader’s love for his people than his honesty before them.

For worship leaders: It takes honesty and transparency to connect with words like “prone to wander, Lord I feel it – prone to leave the God I love.” But too often, we rush people into God’s presence – skipping over the impulses of confession and repentance. By the time you ask them to sing: “here’s my heart, Lord take and seal it” very few people actually mean it. Most people end up only half-connecting, feeling like something important is missing.

Intentionally leave time (if only 30 secs or a minute) for honesty to emerge naturally.

The Spaffords had been planning a family vacation to Paris. But at the last minute, Horatio was kept back with urgent business. Sending his wife Anna and their four daughters ahead of him on the SS Ville du Havre, he expected to be only a few days behind them.

After a week of sailing, the Ville Du Havre collided with the Scottish clipper Loch Earn at 2am on Saturday, November 22. Realizing that danger was immanent, 313 passengers scrambled for the lifeboats. But having been freshly painted, most of the lifeboats were stuck to the main deck, and the passengers were able to break a only a few loose.

The ship sank in 12 minutes. 226 passengers were lost.

Upon reaching Wales 9 days later, Anna telegraphed her husband:

"Saved alone. What shall I do."

After hearing the news, Horatio left Chicago on the next ship to Wales to bring Anna home. At a point in the North Atlantic crossing, the captain called Spafford to his cabin to inform him that they were passing the spot where the Ville Du Havre went down.

Pulling a piece of hotel stationary from his pocket (pictured below), Spafford penned the words to the hymn.

It Is Well (original)

Interestingly, the original last line – “a song in the night,” from Psalm 42 – differs from what we sing today. In a later edit, Spafford thought his original words too dark – preferring instead to allude to the more hopeful Rev. 22:20 “…even so, come Lord Jesus.”

At the end of all things. Resurrection. Beautiful.

Here’s the point:

If you’re a church leader, how do you encourage those you shepherd to handle tragedy? David wrote some of his best poetry in extreme pain. Don’t merely preach at them. Give your people a platform and a voice. Invite empathy back into your church. The next “It Is Well” could be sitting quietly in the third pew from the back. Approach them. Be creative. Listen. And be genuine.

If you’ve experienced any level of tragedy, what have you done with it? Without sounding dismissive, it’s easier to play the wounded bird than the one who tries to sing – although faintly. Share your story. When you do, two things will happen: 1) By externalizing your pain, you’ll gain perspective on what God’s plan for pain. 2) You’ll likely find resonance with others for their benefit.

Share your story. Listen to others. Grow in grace.

sources:– Association of French lines, Maritime Naval History. – 100 Hymn Stories, Osbeck. – An American Priestess: The Extraordinary Story of Anna Sparffords and the American Colony in Jerusalem, Talese.

He was born in Breman (as in the musicians) in 1650. His father, a Latin teacher, died with Neander was 16. Unable to afford to go away for a respectable education, he stayed at home, enrolling at the local bible school.

At first, he didn’t take to it. He actually led a pretty wild life until one day his faith was rocked by a stirring sermon from Theodor Undereyk – a relatively unknown preacher.

When he was 21, he moved to Heidelburg where he became a tutor at the University. Heidleburg was an awakening for Neander. Surrounded by a larger city, and one of the oldest and most respected universities in Europe (founded in 1386), Neander’s horizons were expanded and his faith was given wings. This season of Neander’s life laid the foundation for prolific few years which were to follow.

After only three years at Heidleburg, Neander moved to Dusseldorf to continue his education and prepare for pastoral ministry. Still only 27 years old, he served as a tutor at a Latin school in town.

In between classes, Neander would take long walks in the valley near the Dussel River. Alone in the rolling hills and removed from the hectic pace of scholastic life, Neander felt his soul restored and his imagination stirred. He would sing – often singing and adapting Psalms into tunes that would fit his mood:

Praise to the Lord, who o’er all things so woundrously reigneth
shelters thee under His wings yea, so gently sustaineth,
hast thou not seen,
how all thy longings have been,
granted in what He ordaineth?

Here’s the point:

We can fake worship any time we feel like it. Throw a key-change in here or there – dim the lights – squint our eyes – lift our hands and we’re there. Or are we?

One of the strangest realities for worship leaders, pastors, and artists in the church (at least for me) is to neglect the private adoration of God. We simply haven’t cultivated the discipline of intentionally leaving space in our calendar – allowing us to “ponder anew.” If you’re not a worshiper of God in private, you’re not called to lead His church.

Neander died when he was 30, serving only 1 year as a pastor in his hometown Breman. But not without leaving his mark – writing over 60 hymns in the short span of 5 years. Ironically, the famous “Neander-thal” skeleton (literally, “Neander’s valley” in German) got its name from the valley where Neander contemplated the beauty of God’s creation.

Mike is the worship director at our church. He’s a natural jazz musician with a flare for stubble, odd musical phrasing, and the constant presence of 7th-chords. No v-neck. No skinny jeans (thank God), and no extra effort to be hip. He’s probably most at home behind the piano in somebody else’s jazz trio in the corner of someone else’s club. He’s also the kind of guy who will spend a whole day scouring old hymnals looking for hidden treasures. He’s a little odd like that. And it’s awesome.

But one of the things I really appreciate about Mike as a worship leader is his commitment to honoring past traditions (particularly rich texts) while engaging the current life of our church. This morning, he and I had to opportunity to lead our church in the following song – sung during communion. Neither of us had ever heard of it prior to this week. If you hunt long enough, you can find a video somewhere. But for now, enjoy the text:

Gathered round Your table on this holy eve,Viewing Bethlehem’s stable we rejoice and grieve;Joy to see You lying in Your manger bed,Weep to see You dying in our sinful stead.

Prince of Glory, gracing Heav’n ere time began,Now for us embracing death as Son of Man;By Your birth so lowly, by Your love so true,By Your cross most holy, Lord, we worship You.

Bethlehem’s Incarnation, Calvary’s bitter cross,Wrought for us salvation by Your pain and loss;Now we fall before You in this holy place,Prostrate we adore You, for Your gift of grace.